Tag Archives: Yvonne De Carlo

The Ten Commandments (1956, Cecil B. DeMille)

While Yul Brynner easily gives the best performance in Ten Commandments, until the second half of the movie Anne Baxter gives the most amusing one. She's an Egyptian princess and she's going to marry the next pharaoh. The next pharaoh is either Brynner or Charlton Heston. Cedric Hardwicke is the current pharaoh and Brynner’s dad. Heston is Hardwicke’s nephew, though no one knows Heston is actually an adoptive nephew because mom Nina Foch pulled him out of the river. His real mom had to get rid of him because Hardwicke’s dad, pharaoh at the time, was going to kill all the newborn Hebrew male babies because a falling star told them a newborn male Hebrew baby would lead the enslaved Israelites out of bondage.

So, you know, it's hard to really get into the zone with Commandments when the historical inaccuracies, regardless of whether the filmmakers knew they were inaccurate at the time, slap you in the face. There's already a big artificially enforced narrative distance because director DeMille comes out at the beginning to tell you to be scared of Frankenstein—wait, wrong movie—but director DeMille does introduce the film and tell of its historical accuracy. Sure.

There's also the enforced distance from DeMille’s bible-y but not actual Bible narration. Sadly he never says anything about like, “And lo, Anne Baxter was hot for Charlton Heston’s shiny bod.” It’s a scenery chewing part for Baxter and many of her scenes end with her almost staring into the camera, punctuating her actions in the scene (it occasionally feels like DeMille is doing some kind of Mae West gag). Baxter’s miscast, but has good chemistry with her costars, even if that chemistry never really amounts to any actual sincere moments. Maybe other than Baxter not being able to stand Brynner, which gets less funny in the second half after she has to marry him.

The first half of Ten Commandments—well, more than half; up until intermission—the first half is Heston getting stuck finishing a project Brynner screwed up on because he couldn’t get the Hebrew slaves to build a monument city for Hardwicke fast enough. Heston becomes quickly sympathetic to the slaves’ plight after the Egyptian foremen want to run a trapped old woman (Martha Scott) down with these giant statue pieces. Water bearer Debra Paget tries to save her, can’t, kind of gets stuck, which causes her beau, John Derek (who’s actually greased up more than Heston throughout), to try to save them. He punches out an Egyptian to do it, causing the foreman to stop construction so they can kill him first. Paget goes to get Heston who saves the day because Charlton Heston.

It doesn’t take long for Brynner to conspire against Heston, who’s getting the slaves to work by being nice to them; Brynner screwing with things for Heston eventually leads to Heston finding out he’s adopted and he’s Hebrew. As such, Heston decides he’s got to go become a slave incognito, even though Baxter keeps trying to talk him out of it. Heston gets cast out of Egypt once he gets busted, so Baxter is stuck marrying Brynner. Heston is ostensibly going to pine away for Baxter but once he runs into Yvonne De Carlo and her six horny sisters, his heart starts to mend. It helps De Carlo is willing to share the hole in Heston’s heart with God, who happens to frequently visit a nearby mountain and Heston wants to give him a piece of his mind.

Before intermission, Ten Commandments is always moving. There’s always something going on, always some subplot percolating and then boiling over. Least effective (initially) is star-crossed lovers Paget and Derek. See, Paget’s a really hot slave so all the guys want her, like master builder Vincent Price and scumbag narc slave Edward G. Robinson. And then there’s this fake subplot about Hardwicke’s big party, which occurs but isn’t really a big party. It’s foreshadowing of the second half’s scale issues.

Ten Commandments takes a hit in the second half. There are the plagues, there’s Heston the Silver Fox, there’s the Red Sea, there are the dead firstborn sons, there’s all sorts of stuff and it’s never impressive. The Ten Commandments’s special effects aren’t spectacular. They’re not even particularly inventive. They seem like they were difficult to pull off, but they aren’t the better for that effort. A lot of the problem is the lousy matte shots. Loyal Griggs does an okay job with the photography throughout—there’s not much he can do when they’re shooting exterior scenes on a sound stage, Commandments has a crappy sky backdrop—but he does well with the epic exterior shots and so on. Well, the orgy scene is a little goofy photography-wise but it’s just a little goofy overall.

But until the actual exodus occurs, the second half is mostly Heston threatening Brynner with a plague if he doesn’t free the slaves. Brynner tells Heston to stick it, plague happens, Brynner tells his advisors to stick it, then Heston to stick it, then another plague. By the end of the movie, Brynner’s kind of trapped in this pitch black comedy about being way too vain and way too stupid. Only he wasn’t stupid in the first half. But whatever.

Baxter’s less fun in the second half too because the chemistry with Heston is gone. It’s not like she hits on godly Silver Fox Heston and there’s some spark. There couldn’t be; a spark would light his robes on fire. It’s also indicative of the biggest second half issue—Heston. He ceases to be the protagonist and instead is some kind of bit player who comes on to scare, confuse, or inspire the other cast members. The movie never figures out how to handle Heston now getting divine guidance or how much he knows about what’s going to happen. There’s a disconnect between script and performance on it too, at which point Commandments is just out of luck because DeMille’s already established he doesn’t give a crap about directing the performances.

If he did, he would have gotten enough coverage of dialogue scenes between Heston and Baxter editor Anne Bauchens isn’t stuck doing a harsh cut every single time they go from medium to long shot. Every single time. Actors are on different marks and stuff. Looking in other directions. It’s very lackadaisical, which the movie might be able to get away with if DeMille actually had some great special effects sequences in store. He’s got some enormous scale sequences in store, but what DeMille delivers after all that obviously outstanding coordination between his set decorators and the production managers and whoever yelled at extras? It’s decidedly lacking.

Maybe if there were some booming Heston performance to hold things together but nope. And Brynner and Baxter’s second half arc fills time but is far from successful. It gets time, but that time never pays off. It comes closer than the Robinson stuff, which also never pays off but also gets a lot less engaging as time goes on. It’s too bad; Robinson gives one of the film’s better performances.

Everyone’s basically okay. Except Paget. And Derek’s really one-note. And Price. And Judith Anderson’s mean nanny. And, kind of Hardwicke. Like, you want to cut Hardwicke slack because he’s miscast, but he’s also thin. Like. The part’s thin, he’s miscast, but the performance is still slack. Baxter’s good with him though, probably better than with anyone else. Poor De Carlo comes in before intermission, gets back burnered for her six sisters to make their play for Heston, comes back in, gets more to do, then disappears once intermission’s over. She gets one more significant scene, where Baxter gets to chew up the scene around her. So bummer for De Carlo.

Foch is good as Heston’s adoptive mom.

Pretty good Elmer Bernstein score.

It’s a lot of movie. Some of its good, some of it isn’t, some of it is impressive, more of it isn’t. Brynner’s performance is about the only unqualified plus.

1.5/4★½

CREDITS

Produced and directed by Cecil B. DeMille; screenplay by Æneas MacKenzie, Jesse Lasky Jr., Jack Gariss, and Fredric M. Frank, based on material from books by Dorothy Clarke Wilson, J.H. Ingraham, and A.E. Southon; director of photography, Loyal Griggs; edited by Anne Bauchens; music by Elmer Bernstein; released by Paramount Pictures.

Starring Charlton Heston (Moses), Yul Brynner (Rameses), Anne Baxter (Nefretiri), Cedric Hardwicke (Sethi), John Derek (Joshua), Debra Paget (Lilia), Edward G. Robinson (Dathan), Nina Foch (Bithiah), Yvonne De Carlo (Sephora), John Carradine (Aaron), Martha Scott (Yochabel), Judith Anderson (Memnet), and Vincent Price (Baka); narrated by Cecil B. DeMille.


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Oscar (1991, John Landis)

Excluding prologue and epilogue, Oscar has a present action of roughly four hours. The movie runs just shy of two hours. A lot happens with a lot of characters. And, while the film’s based on a play–which explains the limited setting–and even though it’s not like director Landis does anything spectacular except keep the trains running, it never feels stagy. Sometimes Landis’s composition is a little strange, but it’s never stagy. Oscar is always in motion. It never gets to take a break.

The story is extremely, intentionally convoluted. Sylvester Stallone is a mobster who’s going straight at noon; it’s a big day and he’s going to get a suit. We know he’s going to get a suit because the movie opens with flunky Peter Riegert reading off the morning schedule. It’s quickly executed, but it’s a good forecast. Even though Oscar never really looks good, Landis packages it fairly well. Bill Kenney’s production design is one of the big stars. Stallone’s got a mansion, people coming and going, the cops watching from across the street.

Oscar’s also a period piece, set in the early thirties, which presents some performance problems. Can’t forget to talk about those.

So Stallone’s got a big day and his accountant, a likable but somewhat thin Vincent Spano, shows up and throws a wrench in it. Turns out Spano is carrying on with Stallone’s daughter–Marisa Tomei in a great role. Except maybe it ends up Tomei likes Stallone’s elocution coach, Tim Curry. Curry and Tomei flirting ought to be weird, but it actually works out gloriously. There’s an adorable quality to Oscar, maybe because it’s a thirties gangster picture without any violence. Just positive vibes. Stallone is trying to go straight, after all.

There’s a whole lot more. The film isn’t real time but is consecutive enough characters’ presences define sections–like when Harry Shearer and Martin Ferrero show up as Stallone’s goofy Italian tailors. And Curry isn’t in the picture near the start, more like halfway, yet Landis and screenwriters Michael Barrie and Jim Mulholland make it feel like Oscar can’t get on without him. Same with how Chazz Palminteri’s part grows. Initially, Riegert has a lot more to do, but eventually Palminteri ends up as the audience’s stand-in. He’s been watching the events unfold and the convolutions are driving him nuts.

It’s a great performance from Palminteri. There are a lot of great performances. Riegert, Tomei, Curry, Ferrero. And a lot of solid ones–Ornella Muti (who has way too little to do), Shearer, Joycelyn O’Brien, Elizabeth Barondes. Oscar is cast pretty well and Landis seems to know what do with the actors. At least those in orbit around Stallone.

The ones not in orbit? Like Kurtwood Smith’s doofus police lieutenant, the bankers hesitant to partner with Stallone–including William Atherton and Mark Metcalf, or rival gangster Richard Romanus–well, Landis has no idea. He goes for broad “hokey” comedy and it doesn’t work. Especially not with Eddie Bracken’s stuttering informant. What should be a nice cameo from Bracken is instead cringeworthy.

And how does Stallone do playing the relative straight man to all the lunacy? He does all right. He lets the better performances overshadow his own, which is great. He gets some funny stuff, but he never gets to goof. The goofing in Oscar is great; Ferrero and Shearer, Reigert and Palminteri–some finely executed comedy. Stallone’s good with Muti, good with Tomei, good with Barondes. And he’s good in the scenes with Spano.

Except Spano’s pretty thin. Landis shoots these over-the-shoulder shots down onto Stallone (Spano’s about four inches taller) and it seems like there should be something to it and there’s not. Here’s Spano trying to intellectually strong-arm Stallone for almost two hours, while never getting too unlikable, and Landis hasn’t got any ideas on how to visually jazz it up. It doesn’t do Spano any favors.

Nice score from Elmer Bernstein; there’s not a lot of it, but it’s nice. Mac Ahlberg’s photography is a yawn, though it’s not like Landis tasked him with anything ambitious or difficult. That mansion set is phenomenal. Great costumes too.

Oscar is a little quirky and the third act stumbles in large part thanks to Smith’s performance and Landis’s handling of the finale, but it’s a fine comedy with some excellent performances and sequences throughout.

2.5/4★★½

CREDITS

Directed by John Landis; screenplay by Michael Barrie and Jim Mulholland, based on the play by Claude Magnier; director of photography, Mac Ahlberg; edited by Dale Beldin; music by Elmer Bernstein; production designer, Bill Kenney; produced by Leslie Belzberg; released by Touchstone Pictures.

Starring Sylvester Stallone (Snaps Provolone), Ornella Muti (Sofia Provolone), Marisa Tomei (Lisa Provolone), Vincent Spano (Anthony Rossano, C.P.A.), Tim Curry (Dr. Poole), Peter Riegert (Aldo), Chazz Palminteri (Connie), Elizabeth Barondes (Theresa), Joycelyn O’Brien (Nora), Martin Ferrero (Luigi Finucci), Harry Shearer (Guido Finucci), William Atherton (Overton), Mark Metcalf (Milhous), Ken Howard (Kirkwood), Sam Chew Jr. (Van Leland), Don Ameche (Father Clemente), Kurtwood Smith (Lieutenant Toomey), Richard Romanus (Vendetti), Robert Lesser (Officer Keough), Art LaFleur (Officer Quinn), Linda Gray (Roxanne), Yvonne De Carlo (Aunt Rosa), and Eddie Bracken (Five Spot Charlie).


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